Gladiator II – Film Review

Director: Ridley Scott
Writer: David Scarpa, Peter Craig, David Franzoni
Stars: Paul Mescal, Connie Nelson, Joseph Quinn, Pedro Pascal, Denzel Washington, Derek Jacobi, Peter Mensah, Matt Lucas, Alexander Karim.

Almost a quarter of a century later, Ridley Scott returns with Gladiator II. This is the story of Lucius, who had to flee Rome after his heroic father (Russell Crowe) Maximus Decimus Meridius died in defence of an ancient Rome which was descending into tyranny and mayhem.

16 years later, we are reminded of those times, by the regal presence of Connie Nelson who returns as Lucilla, daughter of an Emperor who has now found new love and loyalty with Roman General Marcus Acacius (an impressive Pedro Pascal).

Lucius (Paul Mescal) fled to safety as a boy and all family and cultural contact was lost. He turns his back on Rome and fights in vain to defend his new home from Roman conquest. As fate directs, he boomerangs back to the place where his father perished, where his grandfather’s ambitions evaporated and where his Mother remains the only symbol of a time when Romans were more ambitious for their democratic future.

Peter Mensah, a huge presence in the Spartacus TV series as the Gladiator Maste ‘Doctore’, swaps that role with a more unlikely Denzel Washington. Washington’s manipulative Macrinus is the puppet master, as he plots and schemes to crush the Senate and replace the Caligula-esque decadent twin Emporers, Joseph Quinn’s menacing Geta and Fred Hechinger’s more sexually ambiguous Caracalla, aided and abetted by comedian Matt Lucas who makes a strong cameo appearance as the Master of Ceremonies in the arena.

Add to this eclectic mix of memories and characters, the legendary Derek Jacobi reprising his original Gladiator role as the ageing Senator Gracchus and we are also reminded of his pioneering TV success in the BBC series ‘I Claudius’. Of course, there is predictability in the thinner plots of ‘blood and guts’ blockbusters where effects and violence dominate. This lavish production, directed by Scott does not disappoint in that area and at times it reaches epic proportions, as is expected.

So now to the leading man Mescal, who swaps the genre that has made him famous, more intimate drama, to take on the iconic masculine roles that are a box office must for handsome young actors. His physique, which he has never been shy about, is toned and his diction more pronounced and eloquent than previously heard. In this role of the enslaved soldier, who doesn’t know he is a Prince, Mescal shines and takes his deserved place amongst the best of his muscly predecessors. His Roman features are far more convincing than Crowe’s and his motivation is equally honourable. His physicality is relentless.

Lucius is unfortunate in love and wears the anguish of loss on his face. He inspires men, the forsaken and leads them to fight not just for survival, but to change their enslaved lot. He makes few friends but forges a strong bond with Karim’s well-studied Ravi.

Often in cinema actors begin to make a name for themselves by their looks and physical prowess in blood and gore blockbusters. Some can later struggle to step up to the more nuanced male roles of art films. Mescal has already acquitted himself in such roles with distinction in works like ‘Aftersun’ and ‘All of Us Strangers’.

Mescal transitions into this epic scenario with ease and effect. He delivers everything one could expect from the reluctant, principled, athletic hero. In short, Mescal conquers the blockbuster genre with the same determination that sees him conquer Ancient Rome on screen. He has now landed in this more lucrative genre and proves an equal to all its demands. Another impressive performance in a movie that lives up to its expectations.